To some extent it will hinge on how you define "better player". The rep player must certainly be confident, and able to hold a solo line. In many cases, the rep player may well be a better player technically than 2nd man down, who is generally valued for his/her stamina as much as anything else.

I have heard a few comments about the rep player being the next best cornet player in a band.But I don't like to make any assumptions.I play rep,but just get on with the job.And play to the best of my ability.
CubbRep.

I asked this question of someone a while ago, and I understand that whilst the rep may not be as technically profficient as the front row cornets, the rep would ideally have a quality tone/sound for the solo lines.

I think rep is important and needs to blend with the pc but I also think they get covered alot on sop, flug and either front or back row. I love it when it gets its own part though. I think its the best seat in the cornet section

To look at it from the quality of part you get I'd say Rep, because it's a bit of everything and you get some cracking bars of solo, especially in the older test pieces and some REALLY good exposed solos in the newer tests.....I am biased of course, I'd never switch from rep to 3rd man purely because of the mixture of part.

I'd say in championship pieces that the players have to be proficient for either part really, but as I've said, the quality of part you get on Rep is much 'meatier'.

With regards to comments that rep should be the next best cornet player after principal and 2nd man is probably correct because of covering all cornet parts if needed or if is scored.

Speaking personally (and with my soprano player's hat on) I would say that the 2nd best cornet player in the band should be on rep.

2 reasons:

1) The rep. is, to all intents and purposes the 'leader' of the back row, and is, in that capacity almost a '2nd principal', together with all the attendant requisites already mentioned.

2) (this is where my sop player's hat comes on) I think all good (or maybe 'experienced' is a better term) soprano players rely heavily on their rep. players for support, in terms of covering odd notes, awkward breathing, sometimes even whole phrases. In order to do this effectively, said rep. must have good, powerful sound, strong upper register, and good sight-transposition skills (!)

I agree with most of the above comments.
In an ideal banding world, the Rep player should be at least on a par with the 2nd man, both in termas of technical ability and quality of sound.
BUT, how many bands actually put their 4 best cornet players on the front row, and have an average player on Rep? All young cornet players with aspirations of reaching Principal should spend time on Repiano.

I would echo most on here by saying Rep. The 3rd and 4th man down are widely regarded as adding the extra weight of sound to the front row but make no mistake, they are also required to be technically competant enough to play the part and blend with the section. Rep however, may not need the technical discipline of all of the front row parts but does need to lead the back row and be confident in taking a leading line musically. It is a fantastic part since it is so varied and challenges all facets of Brass banding in my opinion.

I think the Rep player is the Matt Le Tissier of the Brass Band. Has to be very able at the basics, but capable of brilliance when given the opportunity, and can be found undertaking many jobs depending on who the composer/manager is. (Or in the case of the England manager, mostly left out!)

I tend to write for the rep as the third strongest player, and will often slip in significant solos to them if the next section is a taxing blow for the front row. I rarely double the flugel and rep (outside of marches, anyway) , which allows some extra freedom for counter melodies and ornamentation.

As has been said already, I think the parts need different types of players. The 3rd Man Down has to be technically sound, and needs to make a reasonable noise, but the player's main strength should lie in an ability to whack out long passages of ff, take the top line when and if required, and do their utmost to take the workload off the principal and 2nd man down. A musical shirehorse if you like.

Equally while the rep needs to be a strong player, the part demands a more soloistic style and an ability to play a linking role between the front and backrow, flugel / horns and cornets etc. In my experiance the rep is the third or sometimes the second best cornet player.